PUBLIC MARKS from sbrothier with tag art

Cartographic maps are to Ariane Littman the raw material, the content, and the inspiration of her artwork. The field, which she encounters as a freelance news photographer during the years 2005-2008, becomes the physical space where reality is processed and later projected into new imaginary spaces in her studio. There, she can alter the reality of the Israeli-Palestinian conflict by removing borders and separation walls, boldly deconstructing the hegemonic power inscribed on the maps. Dwelling within competitive narratives Littman proposes, in her performance-video works, a critical reading of maps in which her body becomes the very site of an embodied cartography where geographic and artistic boundaries collapse. This movie reviews Ariane's inventive uses of maps as it follows her to the edge of the city of Jerusalem in her perambulatory routes triggered by the Second Intifada, in a quest to transcend borders and fear. At the end of her peregrinations in the conflicting spaces of Border Land, Ariane, longing for healing, projects herself into the new fictional spaces of Wounded Land. There in a Sisyphean process, she bandages and sews with a green thread the collective wound that runs through the geographic and human landscape of the Holy Land. Directed and Edited by Michal Shachnai Narrator: Rebecca Ehrenpreis Produced by Studio 11 Cinematography Omri Lior, Yair Tsriker and Michal Shachnai Original Music by Amir Yaakobi, Gerhard Fankhauser, Einat Gilboa & Yoham Project Sound design by Amir Yaakobi Cover designed by Yael Bogen Cover image by Oded Antmann Photos of news events & art works by Ariane Littman Photos of art works by Oded Antmann, Andrew Roth, Mike Ganor & Brian Hendler DVD video Widescreen: 16:9 29:16 minutes, color Language: English and Hebrew Subtitles: English and Hebrew All rights reserved: Ariane Littman 2012 www.ariane-littman.com

Japanese-born Masami Teraoka combines the influences of traditional Japanese art forms and American Pop art, exploiting the cultural and temporal disparities between the traditional style and the contemporary issues and ideas which form his subject matter. After training with traditional Japanese masters, Teraoka moved to Los Angeles to study Western art in 1961. From the 1970s, he began painting watercolours, and later prints, which mimicked the appearance of ukiyo-e, Japanese woodblock prints of the Edo Period

Mutsugoto is an interactive installation that invites couples to experience an intimate communication over a distance. Begin by laying on the bed and wearing the special ring.  As you relax and think about your partner, gently move your hand around your body. These movements are traced on your own body as well as your partner laying in the other bed. Twinkling spots give a hint of where your partner is drawing.  If you follow your partner’s movements and your strokes cross, the lines will react with each other and reflect your synchrony.

Japanology, set in a land where fortress-like skyscrapers jostle Edo-era relics, is a kaleidoscope of timespace shards, sometimes incongruent and at the same time in unique symphony with each other. All seven pieces in the series strive for a prismatic effect through application of wa - a uniquely Japanese approach to harmony.

Yiching Chen - Apothéose Nihon-ga, pigments minéraux, feuilles d'argent et d'aluminium, papier marouflé sur bois, 120 x 180 cm, 2010

These snowy 'crop circles' look like they took ages to create. No chance, then, that the imprints were made by alien lifeforms leaving behind remarkable patterns for us to gaze at. Instead, they are the work of a lone artist who has spent up to ten hours a day trudging around a French ski resort. The intricate patterns are huge - some span the equivalent size of six football pitches.

Partners Meng Jin and Fang Er’s first collaborative photography project, Love Hotel explores the two artists’ ongoing interest in urban life, architecture, memory and found objects, and the inter-relationship between physical buildings, objects and their social context. The couple worked on-site within the framework of 3-hour ’rest’ periods in various ’short-stay’ hotels creating improvised, spontaneous sculpture works with the existing objects found in the rented love hotel rooms. Slightly amorphous structures, the rearranged inanimate objects hint at entangled anthropomorphic creations in this fantasy space devoid of actual human presence.

125 is a magazine for people who love photography, design, fashion, art and visual culture presented in a grownup package that will entertain, enlighten and provoke debate.

While a strong connection with future technologies is present in all of Chris’ work, ancient techniques such as lost-wax bronze casting have become an integral part of the process as well. The process involved in creating just one sculpture can often take weeks or even months.

With the Technological Mandala series I combined the suggestive and spiritual meaning of the Indian Mandalas with something that has been perceived as far from that sphere of influence, technology. The search of perfection as necessity within the electronics industry has stimulated my curiosity to produce this series of pieces in order to evocate that specific need. I wanted to show what has been hidden from the eyes of the consumer, representing electronic circuits as extraordinary objects where the perfection of the design can becomes almost something ethereal. The shapes and colors of the single components intrigued me for pure aesthetic reasons with the consequent loss of the actual functionality of the component itself. My circuits/ Mandalas do not activate lights or do other complicated function, but they simply function as stimulus to produce simple questions like: what will happen if a real electric current flows through the Circuit/Mandala?

Title: Technological mandala 02 (The beginning) When: June | 2012 What: Electronic components, microchip, wood frame, 120x120 cm

Robert G. Bartholot is an artist with an emphasis on photographic illustration. His images are meant to tell a story without being too specific. They are often mystical and ironic at the same time, but always colourful and strong. Bartholot was born and raised in Germany and has lived in San Francisco, Zurich and Madrid. He is now based in Berlin.

Run ARART and overlay your iPhone or iPad to start your experience. ARARTを起動してiPhoneやiPadをかざしてお楽しみください。

"a multi-purpose, beautiful and smart experience that appeals to your head and your lap in equal measure" JESSE PEARSON, EDITOR IN CHIEF VICE MAGAZINE

Chantée, filmée, versifiée, exaltée, cent fois déclarée morte et toujours renaissante, la « Bohème » fait partie des mythes modernes.

Lately I have worked almost exclusively with white paper in different objects, paper cuts, installations and performances. A large part of my work is made from A4 sheets of paper. It is probably the most common and consumed media used for carrying information today. This is why we rarely notice the actual materiality of the A4 paper. By taking away all the information and starting from scratch using the blank white A4 paper sheet for my creations, I feel I have found a material that we are all able to relate to, and at the same time the A4 paper sheet is neutral and open to fill with different meaning. The thin white paper gives the paper sculptures a frailty that underlines the tragic and romantic theme of my works. The paper cut sculptures explore the probable and magical transformation of the flat sheet of paper into figures that expand into the space surrounding them. The negative and absent 2 dimensional space left by the cut, points out the contrast to the 3 dimensional reality it creates, even though the figures still stick to their origin without the possibility of escaping. In that sense there is also an aspect of something tragic in many of the cuts. Recently I have worked with the notion of complexity in the piece ‘White Diary’. It presents a human head with a sketchbook in the centre. Out from the pages of the book grows a complex thought-process as an imaginative landscape filled with details and fairytale stories. This maze mapping of the brain shows at the same time confusion and a feeling of getting lost in the detail, which in turn disables any rational overview for a while. Not until the sculpture is seen at a distance and its entirety drawn in can you create order in the chaos.

Le temps s’était arrêté depuis l’entre-deux-guerres dans cet appartement de 140 m2 du 9ème arrondissement. Un chef d’œuvre y était accroché au salon : le "Portrait de Madame de Florian", une huile sur toile de Giovanni Boldini. Le tableau a été adjugé frais compris à 2.108.000 euros le 28 septembre dernier, lors de la vente de tableaux, mobilier et objets d’art de la société des ventes volontaires de Choppin de Janvry & Associés.

FRENCH VIDEAST CONCEIVE AND REALISE SOUND ARCHITECTURE INSTALLATIONS BASED ON CLOSE LINK BETWEEN SPACE AND BODY. SENSES ARE MOBILIZED WITHIN ALL THEIR ACUITY FOR A TOTAL ENGAGEMENT OF THE BEEING. INTERNATIONAL EXHIBITIONS. LAUREATE VILLA KUJOYAMA KYOTO, GRANTS FIACRE CNAP MINISTRY CULTURE…

what matter who's speaking ?

Aerial I, production still from Shadow Sites II, 2011, Single channel digital video Courtesy the Artist, Rose Issa Projects and Abraaj Capital Art Prize 2011. Photography Adrian Warren

GAN HASHLOSHA NATIONAL PARK, Israel — The image is both idyllic and carefully staged: nearly a dozen foreign photographers, some of them celebrated on the international art scene, posing for a collective portrait on a sunny November morning against a startling green pool in this lush park in northern Israel.

DAAR [Decolonizing Architecture/Art Residency] DAAR is an art and architecture collective and a residency programme based in Beit Sahour, Palestine. DAAR’s work combines discourse, spatial intervention, education, collective learning, public meetings and legal challenges. DAAR’s practice is centred on one of the most difficult dilemmas of political practice: how to act both propositionally and critically within an environment in which the political force field is so dramatically distorted. It proposes the subversion, reuse, profanation and recycling of the existing infrastructure of a colonial occupation. DAAR projects have been shown showed in various biennales and museums, among them Venice Biennale, the Bozar in Brussels, NGBK in Berlin, the Istanbul Biennial, The Architecture Biennale Rotterdam, Home Works in Beirut, Architekturforum Tirol in Innsbruk, the Tate in London, the Oslo Triennial, the Centre Pompidou in Paris and many other places. DAAR’s members have taught lectured and published internationally. In 2010 DAAR was awarded the Price Claus Prize for Architecture, received Art initiative Grant, and shortlisted for the Chrnikov Prize.

Another exhibition i just saw in Berlin is Comes with the Territory at Charim Ungar Contemporary (CUC). Don't run to the gallery just yet, the show closed on Saturday. The exhibition brought together Israeli artists who explore the daily struggle to define and stretch the boundaries of the territory. Obviously, the word 'territory' in Israel comes with tense references to occupied stretches of land such as the ones in the West Bank and the Gaza strip. The term also evokes Israeli settlements on Palestinian land, check points, separation walls, disputed borders, forced evictions, etc. The artists in the exhibition, however, approach territory in a more private context. Comes with the Territory featured the works of Rotem Balva, Raafat Hattab, Gaston Zvi Ickowicz, Joshua Neustein, Nira Pereg and Roi Vaspi-Yanai. Subjective selection of works: